The secrets of Orchestration

Hi friends! You are welcome to the secrets of orchestration.

Before we delve in The secrets of Orchestration course, I would
like to disscuss about how to learn this process faster.
The most tedious part of orchestration is that our time is very
limited and we have dozens of pieces that are very crucial for
the learning process need to covered.
Due to this constraint, I do believe that the very first step is to
choose the right path so that we can gain on time.
It is obvious that we can’t afford to fully comprehend every
single piece because of the time restriction.

Hence, we will focus on the specific parts of the orchestral

scores that are well-suited and most appealing for the
orchestration.
We should possess many more orchestral textures so that we
won’t get disappointed while thinking what to do next.
Think yourself of as a painter!
You are given a raw painting sample with only bo’rders and you
have to color it.
If you have only one color, say orange, in your tool box, then
your art piece will be very plain.
But if you master variety of colors, without a doubt, the art you
have painted is going to be more colorful and beautiful.
This is exactly how orchestration works.
The more orchestral textures we have, the more success we
achieve.
Let’s now explore how to hassle-free the concept of
orchestration.
As we know from classical tradition, every musical piece, in a
small or large volume, is made of musical phrases which is itself
made of four, eight or even more bars.
So’metimes it may contain any number of bars.
The important thing is not the number of the bars, but it is that
every phrase is well completed.
This ma’tter should be paid attention to while the
orchestration.
That is the core principe of the orchestration.
To be more precise, the phrase should begin and finish with the
same orchestral texture.
To illustrate, let’s have a look at the “Seven Beauties” from
Azerbaijani composer Gara Garayev.
As Musical phrase ends, simultaneously orchestral texture
termites too.
In the next phrase, as you observed, the composer used a new
orchestral texture.
So, we select only the parts and samples of each full score that
we like and that are essential, and we remember those
orchestral textures.
This piece that personally attracts me is bar number 212 from
“The wooden Prince” by B’ela Bartok.
Let’s take a glance at the piano score.
As you see, this structure endures 37 bars.
The structure you heard sounds pleasent in the piano.
But what about in orchestral performance?
Here’in, Bartok faces 2 problems.
1. If the orchestral textures are not changed in this 37 bars
period, the piece will sound very exh austing.
2. If you consider it ve’rtically, there are only 8 notes: D-D-F in
the Bass cleff and B-D-E#-G#-C# in the treble cleff.
He wouldn’t get the chaos effect in the Symphonic Orchestra by
merely assigning each of these 8 notes to different
instruments.
And in that way, it wouldn’t be an orchestration but just an
instrumentation.
Then, how did Bartok achieve the orchestration?
Now let’s see, how Bartok made it as a piece of cake in 3 steps.
Before we start our lecture, I would like to draw your attention
to the point that I will convey my message through the
author’s point of view to better explain you the secrets of the
orchestration in this part.
Hence, let’s start.
First step: Splitting.
In this step, we will consider the note as a figure.
Second step is the Transforming.
In this process, note pitch will be regarded horizontally and we
will observe some transforming.
The third step, Partitioning.
In this step we will investigate how to partition the figures into
the instruments.
But first, let’s analyze the piano score.
As you see, There are a 3 lined progression in this 4 bars
fraction.
In the first line, chords progression that assigned to quarter
notes progression.
In the second line, the melody.
And in the third line, dotted half notes is sustained.
In this video lecture, we will separately analyze and orchestrate
these three lines.
Let’s first start with the first line’s orchestration.
The part that we are supposed to orchestrate is very congested
and chaotic in regard to its character.
Therefore, In order to beautifully play this part, 80 percent of
the orchestra should participate.
On the other hand, in the given fracture the number of vertical
notes is very low.
We can assign each of 8 notes into one instrument but this
would be very crappy.
Then, how to preceed?
How to deli’ver the orchestration of this part in the best qulity?
For this purpose, we will make use of the very first principle of
the orchestration.
Which is to get more figures from the figure we have.
I call this procedure as Figures’ Splitting.
Since all chords in the first line is similar to each other, it is
enough to split the B-D-E#-G#-C# chord for an illustration.
In Accordance with, let’s first perceive the B-D-E#-G#-C# chord
as an unpitched figure.
This is a quater note figure.
In the splitting phase, we will get new equal figures from the
quarter figure we have now.
The first figure that is as equal with quarter note figure is eighth
note triplet with rest.
Second: eighth note triplet
Third: 2 sixteenths and 1 eighth notes
Fourth: 4 sixteenths notes
Fifth: sixteenth note quintuplet
Sixth: quarter note.
Of course, one could get more figures.
Nevertheless, these many figures are enough for the first line in
this fracture.
As you trace, we got six equivalent figures from a quarter note.
Let’s move on to the second step.
Second step is the Transforming.
In this phase, we will add note pitches to each of these six
figures and will get new figures.
In order to clearly see the process, first we spread the B-D-E#-
G#-C# chord to the left on horizontal line.
We do this to see the notes as an individuals.
C#-G#-E#-D-B
As you remember, the first figure is triplet with rest.
In the transforming phase, we will triple the figure. That is, we
will get 3 new figures out of the given figure.
For this reason, we will add note pitch to the figures.
Now let’s put the first figure on top of these six notes.
As you see, there are two note mold in the figure, thus we need
only 2 notes.
As an example of our figure, we may use C#-G# notes.
Thereafter, the figure get its own pitch.
First triplet is C#-G#.
Lets move to the second sample.
To create the second sample we will utilize “Chain method”.
Lets first talk about what is chain.
In the chain method, we must have an overlaping note shares
both chains.
We call the figures constructed with this rule, a chained figure.
As you may notice, in our figure G# is the overlapping note.
Therefore, the sample we make using chain rule should be G#-
E#.
Lets add one more sample.
To get the 3rd sample, we use chain rule on E#-D nots and get
E#-D triplet.
Consequently, we are done with the first figure.
Before we delve into partitioning, I want to go through what we
have done so far.
In the first step, we got 6 figures from one figure, then we
choose one figure from those 6 figures and create 3 more from
it.
It is worth to mention that, we tripled one of the 6 figures.
Once we add the figures, there will be more material for the
orchestra performers.
Let’s move on to the 3rd step.
The third step is “Partitioning”.
In this step we will split these 3 figures between instruments.
I want to draw your attention to a point: Usually in a classical
orchestration, chained figures from the same pattern are
partitioned between the same timbral instruments.
Strings section, Woodwinds section, Brass section, or
Percussion section.
This way, you can preserve the timbral balance.
In general, there is no standard rules in orchestration, since it is
a matter of taste.
However there are some tetsted and verified textures that
works well and they are turned to be rules.
And when we deviate from these well known textures it is very
challenging to find a pleasant piece of work.!!!
Nevertheless, these is no harm to try.
For example, let’s split up this figure between oboe, vibraphone
and violas.
In my opinion, it doesn’t sound appealing.
In terms of both pleasure and quality.
This way, one of the instruments dominates others.
Hence, it brakes general unit sounding.
For sure, if it is the underlying motive then no problem.
Sticking to the tembral balance, we also partition this figure
into instruments in strings section.
Lets give the C#-G# figure to the first division of the first violins.
Lets give the G#-E# figure to the second division of the first
violins.
Lets give the E#-D figure to the first division of the second
violins.
It is also possible that one can partition this figure between 1st
violin, 2nd violin and violas.
Meanwhile, the tembral balance could still be intact.
On the other hand, we had different figures in his mind for the
strings section.
Therefore, everything remains unchanged.
Now lets focus on score.
Slur on top of the notes indicating that those notes should be
played with one bow stroke.
If the slurs was’nt indicate in the notes, both C# and G# would
be performed with separate bow’s strokes.
The dynamic mark is mezzoforte.
The term Leggiero underneath notes belongs to piano,
mezzopiano and mezzoforte.
This expression requires light and delicate performance of given
passages.
So, the partitioning part is done and we finished all three steps
for the first figure.
Let’s move on to the 2nd figure.
The 2nd figure is also an eighth note triplet.
Unlike in the 1st figure, let’s now diffuse the B-D-E#-G#-C#
chord horizontally on top of the 2nd figure in opposite direction.
This time, there are 3 note places in the figure mold, thus we
will take 3 notes.
After the partitioning, we get two new figures: One with F-Ab-
Db and the other which separated from the former in a chain
method, with D-F-Ab.
However this time, there will be 2 common notes in both sides.
Furthermore, if you pay close attention, you will notice a small
change in the new writing.
We have presented E#-G#-C# notes as F-Ab-Db.
This kind of alteration is called enharmonic change.
In enharmonic change, note’s pitch stays unchanged, yet the
naming changes.
To illustrate, E# and F notes both have the same pitch, hence
we can either keep E# as itself or change its representation with
F. The only change will be the naming.
Then, one question may come up your mind: Why do we bother
to make the enharmonic change?
You may benefit from enharmonic change in 3 situations
utilized in orchestral score or in notation:
1. To make notes easy and fast to read for performer.
In orchestral score, less sharp and flat is considered as much
easier to play for the performer.
In addition, the woodwinds section’s, especially, the clarinet’s
performance is much easier if there are less key signatures.
Look at this. When the concert keys are in flat keys, then less
keys in Bb clarinet. İf the concert keys are in sharp keys, then
more keys in Bb clarinet. So it is hard to playing in more keys.
The best score writing for woodwinds are to write in flat keys of
concert pitch.
2. In modulation:
Enharmonic change shows up if the melody passes to different
tonality after a few steps.
To acknowledge the next tonality, enharmonic changes take
place.
Lets show it on a sample.
For example. If the melody starts with F major, remains
untouched and ends with F major, then this is a regular
progression of melody.
Assume, we want to move g minor. Before the next tonality, we
have a diminished seventh chord.
This time the voice of diminished seventh chord will be F#-A-C-
Eb.
And we resolve it with dominant 6/5 to g minor.
We can use the same approach to move to the G major.
If we want to modulate our melody to E minor then our
dinimished seventh accord will be renamed as F#-A-C-D#.
Which means sounding will remain same but Eb will change to
D# due to enharmonic rule.
The alteration of notes in this fashion is called enharmonic
changes in modulation.
And we resolve it with dominant 4/3 to E minor.
We can use the same approach to move to the E major.
If the next tonality is C# minor, our chord will be renamed as
F#-A-B#-D#
That means the sounding will remain unchanged. The only
change is the name of the notes.
And we resolve it with dominant 4/2 to c# minor.
In the same rule, we can move to the C# major.
If you recognize our chord as a Gb-A-C-Eb, then you can
modulate it to B-flat major and to b-flat minor.
At the end, we can draw this conclusion. We can named
diminished chord which have the same sounding as follows: F#-
A-C-Eb, F#-A-C-D#, F#-A-B#-D#, Gb-A-C-Eb.
In scoring , enharmonic change is used during modulation as
well.
Another use case of enharmonic change is needed in scoring for
harp.
We will talk about this in details when we work on the 6th
figure.
But still, I want to touch upon this a little bit.
As we know, harp player takes a few seconds before
performing the notes he is given to tune the strings with pedals
to the these tunes.
For example, if in harp score both G and G# are simultaneously
required, then we need to replace G# with Ab using the
enharmonic rule. So, the G note is in the G string and the G# is
as an enharmonic Ab in the A string.
The reason for this is that a string can not be sharp and natural
at the same time.
This rule is valid for all strings of harp.
Let’s get back to our figure!
In this figure, we make enharmonic change so that woodwinds
section can read their own score faster and perform easier.
I would like you to have a look at the picture for a moment.
As you observe, we made another figure out of the second one,
hence resources we have increased further to 5.
Let’s now move on to the partitioning of the figure between
instruments.
First we assign the figure of F-Ab-Db to the second flute.
The first flute already played before these 4 bars.
This way, woodwinds performers can benefit from this little
break.
Meanwhile, the appearance of the score also looks beautiful.
Thereafter, we were left with the second and the third flutes,
hence the highest pitch is given to the second flute and lower
pitch is assigned to the third one.
Indeed, this way helps conductor to better read the score.
Then question: why this figure is merely partitioned between
flutes?
Let’s think about it a moment.
At first glance, if we pay attention to the figure, we will see that
the figure is in high register.
Therefore, we can’t assign the second figure to brass section
due to its atructure and the register it resides.
Considering woodwinds section, we should ignore Oboe since
from Timbre prespective. it produces piercing and dominant
sounding.
Regarding its tembre, violins best get along with flutes then
clarnets.
Since we think of different figure for the clarnets, this mission is
given to the flutes.
Meantime, the other reason for the figure’s being assigned to
flutes is that the second figure is the opposite of the first figure
and resides in the same register as the first one.
To be more precise, violins in the first figure performs C#-G#
from top to bottom, yet the flutes in the second figure
performs G#- C# from bottom to top.
You can listen and assure yourself how flutes and violins sound
beautiful and harmonius together.
You should notice that, dynamic markings is mf and leggiero
performance are required for flutes.
We are done with the first figure,now ready to move on the
third one.
The third figure is 2 sixteenth and one eighth notes.
We will again follow the previous rules to process this figure.
First of all, horizontally lay down the notes.
Our notes are C#-G#-E#-D-B
Consequently, if we implement our figure on top of 3 highest
notes and make enharmonic change, we will get Db-Ab-F figure.
The second figure to be decorated is processed according to
chain method on top of the G#-E#-D notes and we end up with
enharmonic Ab-F-D figure.
Next time, we again make use of chain method on top of E#-D-
B notes.
The figure we get after this is F-D-Cb.
Thereafter, we are done with transforming and advance to
partitioning section.
Like this figure, If you recall from the previous 2 figures, all
three are in the high register and in the same form.
In order not to make a conflict sounding from those 3 figures,
we will partition the third figure among clarnets family which
has a soft sounding like flutes.
The first decorated sample of the third figure is assigned to the
first clarinet.
The second sample is given to the 2nd clarinet.
And the third sample we give to the 3rd clarinet.
As we observe in the score as well, similar timbre flutes moves
upward and clarinets moves downward.
If the all orchestra stops playing except flutes and clarinets,
then we can hear it very clear.
Clarinet is a transposing instrument thus its notation is
different.
Because, when a clarinet player plays a written C, his clarinet
sounds a B-flat.
Therefore, the clarinet score is written major second higher
than sounding. That's why we say that the clarinet is
a transposing instrument in B-flat.
A curved line drawn over or under a series of notes, indicating
that those notes should be played in one breath and they are
joined smoothly.
If no slur mark is indicated, the notes are supposed to be
played separate tongued.
If you see the staccato mark over or under of notes, it should
be played short and separated.
Dynamic mark is mezzoforte and playing technique is leggiero.
Let’s move on to the 4th figure.
This figur is consist of 4 sixteenth.
In transforming step we must separate the notes of our chord.
Our high register are full, therefore we full down the notes to
one octave lower.
For this one, we take a different approach for to decorate the
fourth figure.
Lets watch carefully.
Although there are 4 place in the mold of figure, we will use
only 3 notes. We take E#-G#-C# and dublicate the middle note.
So why we use only 3 notes?
If you pay close attention, you will notice that we have been
used only 3 notes for earlier figures.
Maybe that’s why Bartok chose only 3 notes for this figure and
refuse of the D note. Thus he created the compatibility
between this and other figures.
When it comes to the dublicate, Bartok could have handled it in
a different way.
He could be take E#-E#-G#-C# or E#-G#-C#-C#.
All three options are sounds very well.
But Bartok prefer to dublicate the middle note.
The 2nd decorated figure is D-E#-E#-G#.
The 3rd sample of our figure is a bit of exception.
Because reasoning on a logic, it should have been B-D-D-E#.
Our first B note is obey to “chain method”, but C# and D are
different.
But of course it is a matter of taste.
But i think, may be he wanted to create an inverted figure on
the contrary of first division of the first violins.
This rule is especially appearing at cadence. Cadence is a
melodic or harmonic pattern that provides musical punctuation
at the end of a musical phrase.
İn our case study, if the higher figure move to forward, the
lower figure move to backward. Or vice versa, if the higher
figure move to backward, the lower figure move to forward.
Bartok wants to create opposite 2 figures.
Let’s now move on to the partitioning of the figure between
instruments.
The first decorated sample of the 4th figure is assigned to the
second division of the second violins.
The second sample is given to the 1st division of the violas.
And the third sample we give to the 2nd division of the violas.
As you see, in the score, our this figure is the opposite of first
division of the first violins.
There are two slurs on the top of the sexteenth notes.
For example, look at the 2nd division of the 2nd violins.
E#-G# must play with one bow stroke, G#-C# with one bow
stroke.
For all three parts leggiero playing techniques are required.
As you see our score is getting the shape of “Tutti”
Now let’ s move on to the 5th figure.
This figure is more crumbled.
In order to clearly see the process, first we spread the B-D-E#-
G#-C# chord to the right on horizontal lane. Then pick up the
notes one octave higher.
The 5th figure is sixteenth note quintuplet.
Now let’s put the our B-D-E#-G#-C# notes on top of this
quintuplet mold.
This figure is given to the Celesta in the partitioning step.
This instrument is written one octave lower than sounding.
The Celesta looks like a piano.
The difference between celesta and piano is that celesta is
written one octave lower and the range is short than piano.
Let’s look at the score.
There are slurs on the top of notes, which means is reqiured
smoothly playing.
Notice that, if the stem points up from a notehead, the right
hand must play the notes. But if it points down, the left hand
must play them.
In our part B and D must play with the left hand, E#-G#-C# with
the right hand.
Dynamic mark is Forte.
Let’s move on to the 6th figure.
This figur is quarter note.
First spread the B-D-E#-G#-C# chord to the right on horizontal
lane.
We take only D and B notes from here.
Notice that, the note is drawn as a small eighth note with an
oblique stroke through the stem which is introducing before
the main note is called acciaccatura.
An acciaccatura sometimes confused with an appoggiatura.
First of all, i want to clarify about the difference between these
two.
The appoggiatura was formerly classified into long
appoggiatura and short appoggiatura, but modern writers
seem to consider the term "short appoggiatura" to be
synonymous with acciaccatura.
As you see, in our sample, the D note which is given with large
note is the principal tone.
The C# note is shown as a small eighth note which is appearing
before the principal tone is an appoggiatura.
There is a D note which is given with large note is also the
principal tone in our second sample.
The small C# note with an oblique stroke through the stem is an
acciaccatura.
The difference between acciaccatura and appoggiatura is that
an acciaccatura has an oblique stroke through the stem.
As well as they have different sounding.
If before the principal tone has an appoggiatura, in this case an
appoggiatura is more accentuated than the principal tone.
So, C# is more accentuated than D.
If before the principal tone has an acciaccatura, in this case the
principal tone is more accentuated than an acciaccatura.
The D is more accentuated than C# in our second sample.
So, we use an acciaccatura for both figures in our orchestration.
Let’s now move on to the partitioning of the figure between
instruments.
Let’s split up this figure between oboes.
So we give the first one to the first oboe and second one to the
second oboe.
As you see, our figures are quarter notes. But we must play
they with short duration, because there are staccato marks on
the top of the notes.
The general mission of this figure is for to accentuate other
figures.
So why we choose the oboe?
Oboes are easier to hear over other instruments in the
orchestra due to its penetrating sound while playing staccatos.
Especially, in the high and higher register. Therefore, it is an
important instrument for composers, which accentuates the
bright and clear properties of the other instruments.
This mission of oboe you can see in a different orchestral works
of famous composers.
Dynamic marking is mezzoforte.
For making two more samples from 6th figure, we have to
spread the B-D-E#-G#-C# chord to the right on horizontal lane.
Then connect it with one octave lower version.
İ would like to notice that, this expansion is for harp’s part.
Let’s first to talk about the harp.
Because, it is very dangerous writing for harp parts if you do
not know about it.
The concert harp is a stringed musical instrument with foot-
controlled device which can alter the pitch of given strings.
The range of instrument is from Cb1 in the bass clef to G#7 in
the treble clef.
As with the piano harp notation is written on two staves and is
non-transposing. The lower staff is in bass clef, the upper in
treble clef. If required by the register both staves can be in the
same clef, either bass or treble.
The modern orchestral harp has 47 strings and 7 pedals which
raise or lower each pitch-class of strings.
There are different manufacturers of harp, but they differ in
regard to their size and the range.
For example, 46 strings, 40 strings pedal harps.
For all type of harps are using the same notation principles.
Harp sounds as written.
There are two major things taht you need to remember when
writing for harp: Strings and pedals
Let’s start to analyze the strings.
The first string is C, the second is D,E, F,G,A,B.
Then again C,D,E,F,G,A,B..
And this series of strings is continue until the G7.
This is the harp’s rear and controlled pedal mechanism.
The picture above shows the pedal diagram of the harp.
There are right foot and left foot pedals.
According to this, the diagram is consist of right and left sides.
Each 7 notes have their own pedal.
The E,F,G,A pedals are controlled with right foot, the B,C,D
pedals with left foot .
Harpists must always set their pedals before playing.
When a pedal is depressed on the harp, this activates discs at
the top of the string that increase the string tension.
Notice that, the crossed line show’s our harp. The short
dashed vertical lines on the horizontal line indicates that note is
natural.
When is the short dashed vertical lines above the horizontal
line, they show that note is flat.
And the short dashed vertical lines below the horizontal line
shows the sharped notes.
As we see in the picture, if you want E natural, then E pedal
should be in the middle position of the pedal box.
There is a dashed line is on the horizontal line in our diagram.
It show that our note is natural.
Notice that, the colored E label is shown for easy
understanding.
The pedal diagram usually just shown as lines without the
labels.
If you want to change E natural to E - flat, then E pedal should
be in the top position of the pedal box.
Meanwhile the E string is loosed and tuned to Eb.
So, the dashed line move to up.
If you need E#, then E pedal should be in the low position of
the pedal box.
Meanwhile the E string is stretched and tuned to E#.
According to, the dashed line move to the under of horizontal
line.
This tuning method belongs to all of strings.
In short,

 Centered pedal – the pitches for that note are tuned to the
natural
 Raised pedal – all pitches for that note name down a half
step and are tuned to flat.
 Lowered pedal – all the pitches for that note name up a
half step and are tuned to sharp.

For clearly understanding, let’s set up D flat major in the

diagram.
As we know, there are 5 key signatures in D flat major.
D-flat major is a major scale based on D♭, consisting of the
pitches D♭, E♭, F, G♭, A♭, B♭ and C.
Let’s fill the diagram.
The first note is D flat.
And our dashed line is at the top left corner of the diagram.
Harpist change the D pedal to upwards.
The second note is E flat.
The dashed line is above the horizontal line.
According to, the E pedal should be in the top position of the
pedal box.
The third note is F.
The key of F has no sharps or flats because it naturally. We
drawing the dashed line on the right side of the horizontal line.
The F pedal should be in the middle position of the box.
The 4th note of the scale is G flat.
The short dashed line is above the horizontal line and as well as
the pedal is in the top position.
The 5th note is A flat.
We should draw the dashed line at the top right corner of the
diagram.
The harp pedal is in the top position.
The sixth note of the scale is B flat.
The dashed line is above the horizontal line.
According to, the pedal should be in the top position of the
pedal box.
The seventh note is C.
The C is natural and has no sharps or flats
We drawing the dashed line on the left side of horizontal line.
Harpist keeps the C pedal in the middle position.
Thus our D flat major is set up very well.
As you remember, when we told about the using of enharmonic
change declared that the harp also has this property.
Now is the time to tell that, the harp string has no ability to
tune to the different pitchs at the same time.
But, we can get one pitch in 2 different strings.
It is called enharmonic change.
Let’s explain.
For example.
İf tune the C string to C sharp and D string to D-flat, then we
can get two same pitch in two different strings.
This a enharmonic tuning.
One more example, if tune the F string to F-flat, then E string
and F-flat string will sound at the same pitch.
In conclusion, this usage of enharmonic change in the harp
could be called “enharmonic tuning”.
Let’s come back to the 6th figure.
We will use 2 harps for orchestration of this figure.
Because there are many different chords in our 4 bars and
tempo is fast for change the pedals in every chord. İt is very
difficult playing in the harp.
Now set up the diagrams for 2 both harps.
In order to clearly see the process, first we must take the all
chords from 4 bars and spread they to the left on horizontal
lane.
Because there are only 5 notes in the first chord and that's not
enough for fully filling the diagram.
Now we see every note more clearly.
Our notes are C,C#,D,D#,E,E#,F#,G,G#,A,A# and B.
As you see, a scale formed by the regular succession of notes in
half steps. So, it is a full chromatic scale.
We must take those notes from the scale which should be
playable for both harp players.
Firstly we should choose the sharped notes and then change
them with enharmonic.
By this way we adjust the chords of 1st harp to G-flat major.
There are a question. Why we change the note names and why
composers use the flat keys for the harp scores.
The reason is that, the most resonant sound from the string
occurs when the tuning is set to flat key.
So, we will change the C# to Db, D# to Eb, E# to F, F# to Gb, G#
to Ab, A# to Bb and B to Cb.
This a diagram for the first harpist.
Below the picture is shown the diagram.
For the second harp we take the other notes and adjust to c
major.
So, it should be like these: C as C, D as D, E as E, E# as F, G as G,
A as A, B as B.
Below the picture is shown the second diagram.
Let’s now move on to the partitioning of the 6th figure between
instruments.
As previously figures in this figure spread the B-D#-E#-G#-C# to
the right on horizontal lane.
Then connect it with one octave lower version.
For the first harp take the E#-G#-C#-E#-G#-C#.
For the second harp take the D in octave.
Notice that, if the stem points up from a notehead, the right
hand must play the notes. But if it points down, the left hand
must play them.
Dynamic marking is Forte.
One of the instruments performing figure 6 is a triangle.
This instrument is unpitched percussion.
What is the unpitched percussion meaning?
Percussion instruments are classified as pitched and unpitched,
or in other words, definite and indefinite.
A pitched percussion instrument is used to produce musical
notes of one or more pitches, as opposed to an unpitched
percussion instrument which is used to produce sounds
of indefinite pitch. For example, Xylophone is pitched
percussion and we can use it for melody line, but Tambourine
is the unpitched percussion and we use it for the rhythm and
for accent in music.
Triangle is decorative instrument in the orchestra and it
accentuate the beats.
So, we are using it only once at the beginning of our 4 bars.
Dynamic marking for this instrument is forte.
So, we done the 6th figure.
And the splitting, transforming and partitioning steps of the first
line were completed.
The middle line is the melody, thus we can not do any change in
the structure. Therefore it will orchestrated later.
Now look at, what can we do in the orchestration of the 3rd
line.
The bass line is consist of sustained pedal with dotted half
notes.
As you know, we will make use of the first principle of the
orchestration.
Which is to get more figures from the figure we have.
I call this procedure as Figures’ Splitting.
Following the previous rules, we can get more figures from the
dotted half note figure.
So, our figures will be as a below shown.
1st figure, 2nd figure and 3rd figure.
Let’s move on to the transforming step.
As you know, our 1st figure is dotted half note.
In this phase, we will add note pitches to each of these 2 figures
and will get new figures.
In the partitioning step we give higher D to the 3rd bassoon and
the lower D to the contrabassoon.
Dublicating an octave is using for emphasize and to reinforce
the sound of bass line.
İt may be that, there is only one note in piano score which
presented to you. Then it is allowed to dublicate that one an
octave.
By this rule, Contrabassoon is dublicated an octave with
Bassoon, Tuba with Trombone, Double basses with Cellos.
You will see it visually in the next figure.
The dynamic marking for both instruments is forte.
Let’s move on to the 2nd figure.
This figure is the dotted half note with tremolo.
For transforming we use the D note an octave for our two
figures.
There are 3 strokes through the stem of the dotted half note,
which is required to play the repeated thirty-second notes.
If there wasn’t an easy method of notation, then you have to
write 24 thirty-second D notes into one bar.
Of course, this method prevent the repeatedly writing of the
same note.
Notice that, while performing is not required to play the exact
24 thirty-seconds notes.
Because, the thirty-seconds notes repeate extremely rapidly
and it is hard to hear exact number in the orchestra.
In generally, this method helps for easy reading while playing.
If there was one stroke through the stem of the dotted half
note, then you should play them as 6 eights notes. When two
strokes, then as 12 sixteenth.
Now back to the partitioning step.
As in bassoon and contrabassoon, we give the higher D to the
cellos and the lower D to the double basses in the partitioning
step.
So, our bass line is reinforced.
Dynamic marking is Forte.
Now is coming the third figure.
We use only D3 for this figure.
The sign on top of the note is also called “tremolo”, which
typically produced by rapid reiteration of a note.
We assign this figure to the timpani.
There is a long slur in timpani part, which is required to playing
as one unbroken phrase.
So, we have finished the orchestration of the 3rd line.
Let’s move on to the middle line.
The middle line is the melody, thus we do not any change in the
structure.
This figure is given to the 1st trumpet.
As you see in the score, the trumpet is the very useful
instrument for producing the dangerous and warning motif.
The dynamic marking is mezzoforte.
On top of this, i may also add: Horn is one of the most suitable
instrument to capture danger and warning in the scene.
Finally, we are done the melody line. So the orchestration of
four bars were successfully completed.
If you keep listening the music, you may come across a similar
yet mor complicated textures.
I can assure you, if you analyze and archive those pieces, you
will excel your skills.
I would love to hear your feedbacks.
Please share your opinion and leave a comment.
Hope to see you in our next project or lecture.